Latest news with #TheRevolution
IOL News
4 days ago
- Entertainment
- IOL News
Rising Strong: A Guide to Personal Growth and Resilience
The book explores how we grow from failure, embrace vulnerability, and build resilience. Through The Reckoning, The Rumble, and The Revolution, Brown teaches how to confront emotions, challenge our stories, and rise stronger. The book explores how we grow from failure, embrace vulnerability, and build resilience. Through The Reckoning, The Rumble, and The Revolution, Brown teaches how to confront emotions, challenge our stories, and rise stronger. Rising Strong is a gold mine for anyone committed to real, lasting personal growth. Brené Brown's honesty and self-examination are both refreshing and challenging. She doesn't just talk about vulnerability—she lives it on the page, using her own experiences as a case study. Her insights feel personal and accessible, not just theoretical. One of the book's most valuable lessons is how we rise after failure. Brown presents a three-phase process called The Reckoning, The Rumble, and The Revolution, which helps individuals confront their emotions, challenge their personal narratives, and emerge with greater self-awareness and strength. Setbacks are inevitable, but growth comes from how we engage with them Facing Discomfort A passage that truly struck me reads: 'My rumbles with shame, judgment, privilege, connection, need, fear, and self-worth taught me that it wasn't the pain or the hurt that made me look away. It was my own need. Act 2 is all about trying to find a comfortable way to solve the problem until those options are exhausted and you have to walk straight into discomfort, the lowest of the low. Helping and giving are comfortable for me. I wanted to solve this issue by doing more of what I already do.' Reading those words, I recognised myself. When faced with emotional pain or discomfort, my instinct is often to double down on what feels familiar—helping others, working harder, or distracting myself—rather than confronting what truly needs to be faced. Brené's willingness to walk into discomfort and name it clearly is both brave and instructive. This is where Rising Strong excels. Real transformation begins not when we avoid pain, but when we choose to face it head-on. Most of us try to solve our problems by repeating patterns that don't work, just to avoid the raw, uncomfortable space of self-examination.
Boston Globe
13-06-2025
- Sport
- Boston Globe
Revolution place Ignatius Ganago on injured list with quad strain suffered on international duty
Advertisement Ganago has struggled to produce goals, his lone tally coming in The Revolution begin a run of three straight matches at home on Saturday against FC Cincinnati (9-5-3), which sits second in the Eastern Conference and is the last team to beat New England in the league — via a rainy 1-0 result His absence comes as first-choice striker Leo Campana appears on the cusp of returning. Out since he suffered his second hamstring injury of the season on Advertisement The team held Campana back from the Ecuadorian national team during its off week due to his being 'a bit behind on the timeline' of his recovery. (In his absence, Ecuador Related : Luca Langoni, who hasn't played since injuring his quad Both are listed as questionable on Saturday's injury report, alongside defenders Brayan Ceballos (out the last two matches following a head injury) and Will Sands (out four with an ankle issue).
SBS Australia
02-05-2025
- Entertainment
- SBS Australia
Turn up the volume on the Music in the Movies collection
L-R: Tenacious D In The Pick of Destiny, Amadeus, Bran Nue Dae, Heavy Trip. Credit: SBS On Demand Music and the movies have always been intertwined, from the days of in-theatre piano players accompanying silent films to purpose-written scores and on. With the glittering mayhem of Eurovision almost upon us , let's whizz through a few melodious highlights of our Music In The Movies collection . It's impossible to do justice to legendary musician, singer-songwriter extraordinaire, gifted producer and impeccably sexy performer Prince in a pithy paragraph. The Minneapolis-born legend transcends words and reshaped musical history in his own slinky image. Just go crazy for his star-making cinematic debut, 1984's dystopia-destroying rock musical featuring his badass band The Revolution. Prince fought hard to make it happen and was richly rewarded. Picking up an Oscar for best song score, the film, the album of the same name and single 'When Doves Cry' all came in at number one simultaneously, marking the first time in history any artist had scored such an astounding trifecta. Purple Rain is streaming at SBS On Demand and will also air at 9.40pm Thursday 15 May on SBS World Movies. Arrente and Kalkadoon filmmaker Rachel Perkins comes from a staunch line of Aboriginal activists, carrying that fire into her sizzling screen career, including delivering ground-breaking SBS documentary series . Jimmy Chi's 1990 rock musical Bran Nue Dae – which Chi composed with his band Kuckles, The Pigram Brothers and Scrap Metal – spoke to her. A pioneering breakthrough for First Nations voices in Australian theatre, she adapted it for the big screen in 2009, bringing this tale of young lovers Willie (Rocky McKenzie) and Rosie (Jessica Mauboy) to life with an abundance of love and joyous song. It also features a bevy of brilliant co-stars, including Deborah Mailman, Magda Szubanski and the incomparable Ernie Dingo . Bran Nue Day is streaming at SBS On Demand. Fake news stories have been going viral since way before social media. The scurrilous rumour that once-renowned composer Antonio Salieri poisoned young pretender Wolfgang Amadeus Mozart just before Christmas rocked the Habsburg court in 1791, persisting to this day despite being utter poppycock. Poet, playwright and author Alexander Pushkin first saw the scandalous potential, spinning the tall tale into a short play. Almost 150 years later, Liverpudlian Peter Shaffer's new stage version soared, inspiring Czech filmmaker Miloš Forman's ( One Flew Over the Cuckoo's Nest ) bravura biopic. F. Murray Abraham is deliciously wicked as the internally twisted Salieri to Tom Hulce's doomed mover and shaker Mozart in this lush, loose-with-the-truth costume drama set to the latter's greatest symphonic triumphs. Amadeus is streaming at SBS On Demand. Chinese-Australian filmmaker Tony Ayres' tribute to his complicated mother, in all her beauty and mayhem, is an only lightly fictionalised drama. Impossibly glamorous Twin Peaks star Joan Chen is magnetic as Rose, a Hong Kong nightclub singer who struggles to settle into the suburbs of Melbourne after being whisked away by Australian sailor Bill (Steven Vidler). But we join the story in medias res after she's already high-tailed it to Sydney, working through a procession of 'uncles' before crawling back and spiralling from there. All of this is seen through the glinting eyes of a young boy, Ayres' stand-in Tom (Joel Lok) who's just trying to get a handle on what stops her from finding peace and anchoring him and his teenage guitar-playing sister May (Irene Chen, no relation). The melancholy of a musical life arrested is integral to lost soul Rose's journey. The Home Song Stories is streaming at SBS On Demand. Céline Dion battling through Stiff Person Syndrome to perform live from the Eiffel Tower was one of the highlights of the rain-drenched but nevertheless dazzling Paris Olympics opening ceremony . Her radiant aura also illuminates this quite surreal 2020 'biopic', or 'fiction freely inspired by', as the trailer cheekily has it. Writer/director Valérie Lemercier also plays Aline Dieu, picking up a César Award for her performance as our not-quite-Céline, rattling through a rags-to-riches story that bears an uncanny resemblance to that of the mother-ship. To confuse matters further, Lemercier's Aline also performs many legit Dion hits, though lip-syncing to vocals by French pop star Victoria Sio. It's fabulously bonkers. Aline is streaming at SBS On Demand (but be quick - it's only there until 2.45pm 25 May). Any music-forward film featuring a heavy metal band called Impaled Rektum will get a specific subset of folks signing up, sight unseen, and another chunk running for the hills. Either way, first-time Finnish directorial duo Juuso Laatio and Jukka Vidgren's out-there comedy isn't exactly what you think it is. Featuring a rag-tag bunch of riotous, small-town rockers led by Turo ( actor Johannes Holopaine), they're determined to play at a major Norwegian metal fest whether they're invited or not. Even if one of them is technically, umm, incapacitated. A buddy movie with road-trip bones, it's a highway-to-hell of a lot sweeter than it sounds. Heavy Trip is streaming at SBS On Demand. If you need a soulful pick-me-up that's ever so gentle on the heart, hitch a lift with writer/director Chung Chi Cong's Before Sunrise -channelling treat. In the early hours of an exceptionally well-shot Saigon, guitar-playing indie musician Tam (Ha Quoc Hoang) jumps on the back of for-hire rider Thanh's (Tran Le Thuy Vy) motorbike. But instead of heading straight to his home, they shoot the breeze from dawn till dusk, circling the city and singing as they go. While the promise of connection hangs palpably, one must leave tomorrow in this tender love song for the almost was. Good Morning and Good Night is streaming at SBS On Demand. Good Morning and Good Night There was . Otherwise known as Jack Black and Kyle Gass, the 'they-go-low' jokers may or may not be self-cancelled and/or no longer besties, but way back in 2006, the long-running alternative comedians who can play electric guitar were having a gas in their big screen debut, The Pick of Destiny . Quite literally, with a plethora of fart jokes unleashed in a stoner movie that's less This is Spinal Tap and more in vibes, right down to battling Satan himself after strumming with the titular supernatural pick. Theirs is certainly an acquired taste, but their fans are legion. Tenacious D in The Pick of Destiny is streaming at SBS On Demand. Tenacious D in: The Pick of Destiny Share this with family and friends SBS's award winning companion podcast. Join host Yumi Stynes for Seen, a new SBS podcast about cultural creatives who have risen to excellence despite a role-model vacuum.
Telegraph
30-04-2025
- Entertainment
- Telegraph
Noddy Holder on the ‘heavy' box-office bomb that blew up Slade
It's July 29 1974, the first day of production on the film that will surely take Britain's biggest singles band to the next level. In The Revolution club in Mayfair, central London, the cast and crew of Slade in Flame are embarking on the six-week shoot that will take this other northern four-piece to Beatles -adjacent success. That, at least, is the plan of band handler Chas Chandler, the ambitious tough-nut ex- Animals bassist and former manager of Jimi Hendrix. 'When we [signed with] Chas, it took two years before we had a hit,' recalls Slade frontman Noddy Holder of the early years of the glam-pop phenomenon who formed as a Mod-like rock band in Wolverhampton in 1966. The 79-year-old and I are talking on the occasion of the 50 th -anniversary of Slade in Flame, which means a spruced-up print, cinema re-release and DVD reissue courtesy of the BFI. 'Everybody was saying to him: 'You got to give it up with Slade, they're not going to make it,'' continues the singer, those mutton-chop whiskers are still present and correct, albeit greyer and wispier and half concealed by a dandy-ish purple fedora. But the fearsome Chandler 'stuck with us because he'd had Hendrix, and the next project he wanted was a four-man band. He followed the blueprint of the Beatles: get to number one, get another number one, get to number one the first day of release. We did that three, four times. 'Course, the next thing the Beatles did was make a movie. So Chas, of course, said: 'I want to make a movie with Slade.'' That, after some script back and forth, meant a dark rock'n'roll fable written by Andrew Birkin (brother of Jane) and directed by 27-year-old first-time film-maker Richard Loncraine. Set in the late 1960s, it was about a band, Flame (portrayed by Slade), and their rise to fame, co-option by a dodgy manager (played, in his first significant screen role, by Tom Conti) and bitter demise. Good times. In The Revolution, the scene being shot involves Flame's first singer, the man who will ultimately be ejected in favour of Holder's Stoker ('a more exaggerated version of me,' Holder tells me. 'Or I'm a more exaggerated version of Stoker!'). He's a theatrically ridiculous warbler – a Midlands Jacques Brel – called Jack Daniels, and he's played by the actor Alan Lake. Even on the first day of shooting, there was some dissension within the ranks of Slade over the film's merits. Mercurial guitarist Dave Hill was already less than impressed. 'Dave was Dave,' Holder says, of a musician who still tours with a version of Slade (Holder hasn't since 1992). 'Dave has said himself that he hadn't got a f------- clue what the film was about. He didn't read the script! He only read the scenes he was in! And when he saw the end-product, he thought it was way too heavy for Slade.' Which brings us back to Alan Lake. Holder gives a high-pitched tee-hee at mention of the actor, who wasn't long out of prison when he landed the part in Slade in Flame. 'He was mates with the Krays and all sorts of people. And he had been in a pub in [Sunningdale, Berkshire] and got into a fight – him and a pop star called Leapy Lee, he had one hit called Little Arrows. Some of the locals in the pub were slagging off Diana Dors – who Alan was married to! So, of course, a fight broke out and Alan stabbed someone. Him and Leapy Lee got jailed.' The extracurricular activities of their co-star, though, didn't deter Slade. 'We got on great, he was just our sort of bloke. We're sitting around waiting for lights and cameras to be reset, he was telling stories about the clink, the East End, all these hard nuts. But: you wouldn't cross Alan. His fatal flaw was, when he was pissed, he got out of control.' Which Lake duly did on that first day of shooting. Sloshed after his lunch break, when the manager of The Revolution wouldn't open the bar for him, 'Alan lost his rag and beat the s--- out of him.' Chandler and producer Gavrik Losey (son of blacklisted Hollywood director Joseph Losey) fired Lake on the spot. But the next day he was back, cap in hand and wife on arm. 'Diana Dors pleaded with them to give him more chance. She guaranteed he would not drink the whole of the rest of the movie. And they gave him a chance. And as far as we know, he never touched another drop the whole of the movie.' That, Holder adds, was indicative of Lake: for all his demons and toughness, 'he was totally reliant on Diana'. That was proved terribly true 10 years later. Dors died from ovarian cancer in May 1984. That October, Lake dropped off their 16-year-old at Sunningdale railway station, returned to the nearby family home and shot himself in the son's bedroom. In summer 1974, Slade have already had an intense 12 months. The previous July, with Skweeze Me, Pleeze Me, their fifth number one single at the top of the charts, they headlined London's Earls Court, a legendary show that was – and would remain – their largest indoor show in the UK. Two nights later, drummer Don Powell picked up his girlfriend Angela Morris from Wolverhampton's Dix nightclub in his white Bentley. In the wee hours of July 4 1973 the car left the road and hit a brick wall. Both were flung from the car. Morris died and Powell suffered catastrophic brain injuries and multiple fractures. He spent five days in a coma in Wolverhampton Royal Hospital. But even for the critically injured drummer, the Slade train didn't stop. Within a few weeks the band were in America, touring the East Coast and recording, in New York's Record Plant, their next single: Merry Xmas Everybody. 'We didn't know whether Don was going to survive – they only give him 24 hours to live when he had the crash,' remembers Holder. 'When he come out of hospital six weeks later, we took him to America, just to see if he could play again. But he had no memory. Couldn't remember the hits. Couldn't remember nothing about his life. Couldn't taste or smell.' Unsurprisingly, a newly written song, no matter how catchy, was beyond Powell. 'We had to talk him through it all. So Merry Xmas was probably the hardest record we ever recorded. We built it up like a jigsaw puzzle. I'd be singing in the booth and with the guitar, and I'd be shouting to Don through his headphones: 'There's a [drum] roll coming now, it's gonna go 'bada-bada-bada'', and he'd go 'bada-bada-bada'! That's how we had to record for two or three years. The same [with playing] on stage.' Learning his lines for the film, then, would also be a challenge. 'That's why mainly in the film Don's got comedy one-liners,' says Holder, who says that he 'loved' acting and went on to star in three series of the sitcom The Grimleys (1999-2001), created by future Line of Duty showrunner Jed Mercurio. 'But Don was a one-liner merchant anyway – he was a drummer, and they're one-liner-type people.' In the summer of 1974, his newbie actors' rusty skills were the least of the problems facing Loncraine, a debutant director who'd later make multiple films and TV dramas including The Missionary with Michael Palin and Dennis Potter adaptation Brimstone and Treacle with Sting. 'Chas was not easy,' says the director of a manager fiercely protective of his 'boys'. Having ponied up the budget from David Puttnam's Goodtime Enterprises and from Slade's record label Polydor, Chandler ruled the film set with a rod of iron. Loncraine remembers shooting a night sequence: Flame are in a car chase with a rival band and police, and their vehicle flips over and catches fire. 'We only had one night to do a lot of work, and I was working at a garage location up the road from the other unit. We were shooting on Panavision's latest camera, which we managed to get it by hook or by crook – I was holding about a quarter of a million quid's worth of camera. 'Suddenly it was grabbed out of my hand, and Chas said to me, 'I want more close-up of my boys, you young c---', and threw the camera in a puddle. He was quite blunt to say the least.' For his part, future Oppenheimer star Conti – 33 at the time and with a largely theatrical background – confesses to blithe ignorance all round. The storied actor, now 83 and deep in the final stages of writing his memoir, admits he had no idea what he was getting into. 'I hadn't heard of Slade, I'm afraid!' the Scotsman says with a laugh. 'It's ridiculous but I was brought up on Mozart and that lot. Popular culture, I really didn't know much about. I knew The Beatles of course. But I didn't know anything about the rock world at all, really. So it was quite fun to be involved with that a bit.' His character, a shady businessman turned manager, was of particular interest to Chandler. As recounted in 1999 by Ken Colley, the character actor who played a talent scout in the film, he'd been told by Chandler that 'when The Animals ended, he had been left in Los Angeles with a broken marriage, bad health and $5,000 in his pocket, and he swore he was never going to let anything like that ever happen to him again. That's why a film showing the contractual scheming and the underhanded side of the music business appealed to him.' Certainly it was more appealing than an earlier script: a spoof of 1950s TV series The Quatermass Experiment, it was called The Quite-a-mess Experiment. Holder was going to be Professor Quite-a-mess, 'and the triffid would eat Dave Hill in the first half hour of the movie,' says Holder. 'And all you'd have through the rest of the movie was Dave's fringe hanging out the triffid's mouth!' All of that is news to Conti. Although he did have his own run-in when he met Chandler for the first time, after the film's premiere, at The Metropole theatre in London's Victoria on February 13 1975. 'There was a slightly embarrassing moment,' the veteran actor begins. 'There was a very pretty girl getting some food [at the after-party] at Morton's, which was a club in Berkely Square. I got chatting to her. Her name was Lynsey de Paul, but I didn't know her or to whom I was chatting. But we took our plates of food and drinks and sat on the staircase and chatted. And somebody said to me later: 'You were taking a bit of chance weren't you, talking to Lynsey?' 'What do you mean?' 'She's just broken up with Chas Chandler.' But there were no repercussions!' Alas, there were repercussions aplenty for the musicians at the heart of it all: Slade in Flame bombed. It turned out that a dark rock'n'roll fable about a pub band being shafted by the music biz – with a moody, only-occasionally-rocking, period-specific soundtrack that was less Cum on Feel the Noize than Cum on Feel the Angst – wasn't a must-watch for Slade's core, teenage, significantly female fanbase. At least the critics were kinder. 'Barry Norman, the big guy at the time, he loved it,' says the puckishly cheerful Holder, still chuffed. 'Which we never expected. But in terms of bums on seats, it didn't hit, because of the seriousness of the subject.' How disappointing was that to Slade? 'Oh, very! Particularly in the situation we were as a band – we were used to number one records. We expected to have a number one film! It definitely harmed our career.' Holder remembers an appearance on Top of the Pops 'straight after the premiere'. The director of the show turned up at the afternoon's rehearsal, 'went up to Dave and said: 'It's a fantastic movie, but you've made a hell of a mistake for your career.' Because it was not what the fans wanted. The fans didn't want to see behind the glamour. They only wanted to see what we were all about, the happy-go-lucky, cheeky chappies. The fans couldn't split the Slade reality from the Flame characters.' Musically, Holder took some consolation from the fact that he and bassist Jim Lea, his co-writer, stretched themselves with How Does It Feel, the film's epic, rock opera-like, six-minute theme song. But that only went so far. 'Fans didn't like it. Chas didn't like it. Dave and Don in the band didn't like it. Polydor didn't like it. Only me and Jim liked it. But we had to bring it out as a single because it was the theme to the movie. We'd already had Far Far Away out [from the soundtrack], which got to number two. But How Does It Feel was the first time we'd missed out on the Top Three since 1971.' That Number 15-with-an-anchor single was the final straw. Drastic action was called for. America was one of the few international markets remaining impervious to Slade's charms. 'So after the movie came out in the spring of '75, we decided to go to the States and make a concerted effort. We'd been many times. But in them days, you had to be there for a year, two years. Zeppelin did it, Sabbath did it, Fleetwood Mac did it. 'So we had to get slogging on the road, and we decided to go for two years. And that's what we did. 'Course, when we came back after two years, the punk thing was happening. We were boring old farts then. So we were way out of favour with the media, weren't getting records played on the radio, nothing. In Europe we were doing fine. But in the UK, dead in the water.' It would take a last-minute and acclaimed appearance at the Reading Festival in 1980, when they replaced Ozzy Osbourne, 'to revamp' Slade and kickstart a new phase of their career. And now? Bizarre but entertaining, Slade in Flame stands up as a curio, a gritty kitchen-sink drama grafted onto the giddy, gleeful world of one of the biggest pop bands of the era. And it's a period piece, albeit of two different periods: the hardscrabble late '60s in the music business, when the deals were shady and the managers shadier still; and the mid-'70s, when cinematic rock fantasias like The Who's Tommy and David Essex's That'll Be the Day were natural, you might say vainglorious, extensions of musicians' activities. For his part, Noddy Holder remains proud of the film, pleased that 'we stuck to our guns and did it how we wanted. I'm not saying the whole band agreed with that. They do now. I think [even] Dave probably does now.' At the time of our meeting in April, Holder said he was unsure whether all four members would convene for a special London anniversary screening in London on May 1. It's been 'a long, long time' since all four did anything together – perhaps, even, 1996, when they got together for Holder's edition of This Is Your Life and Chandler's funeral (those events were unrelated). 'And Dave and Don had a big fall out two, three years ago. I see Dave most out of any of them. If I'm in Wolverhampton, I might call him up and go for a cup of tea. But Jim and Don, I never see 'em.' He mentions a 'f------- great' quote he just read by Liam Gallagher. 'He just makes me laugh. He said: 'You have to have a messiah complex to be the frontman in a band. But once the drummer and the roadie get a messiah complex, you're f-----.' Just genius!' the singer cackles. On that point: Noddy Holder has always said that a band splits up for a combination of five reasons. 'Ego. Next thing is money. Then drink and drugs. Next thing is women. And the last thing is musical differences. And in Slade's case it was all five!'
CBS News
18-04-2025
- Entertainment
- CBS News
Musicians hand-picked by Prince to play tribute concert in Hopkins
The music of Prince is being celebrated by those who played with the great one. "Can't everybody play this music not the right way," said the executive director of the 2Gether tribute concert, Michael Bland. Bland, who is also a drummer and musical director, gathered the greats together. "We're all on a mission now to keep his music alive in whatever way possible," said Bland. Tommy Barbarella, Levi Searcer Jr., Dr. Fink, Ricky Kinchen and Homer Odell, will all do the honor of playing Prince's music. "It pretty much exemplifies what I'm trying to do," said Bland. "I'm trying to unify all the people in Prince's universe, one person at a time. Well, 12 people at a time." Special guest Ashley Commodore, JB, G Sharp and the UC Horns are determined to bring Prince's music to a new generation. "There are young people growing up now who have no idea who Prince was, is, and I just never thought I would see a day when that would be possible because he is easily the Mozart of our time," said Bland. "He's like the teacher, like we all learned from him, and what every artist can learn from him is if you want to learn how to perform if you want to learn how to play, you listen to Prince," said Mint Condition's Ricky Kinchen. Kinchen says its an honor to play Prince's music. "Prince was funky man, Prince was musical, Prince was melodic, Prince was everything," said Kinchen. "Like I said, Prince is the reason why all of us are here." "It's hard to believe it's been nine years [since] he left," said longtime Prince collaborator Dr. Fink. Fink believes Prince would approve of this tribute. "I think he would probably like it, I think he would appreciate [it] quite a bit, and he'd probably wish he could join us on stage," said Fink. Handpicked to be the holders of his legacy, 2Gether promises to showcase all that made Prince legendary. "They're going to hear music from The Revolution, pre-Revolution years. They are going to hear NPG tracks, all those eras, they are going to hear some Time and Vanity 6 as well," said Fink. You can hear the music of Prince at the Hopkins Center for the Arts. Showtime is Saturday at 8 p.m.
